recent activity

Through this exposition, The NarrativeCollective open up [hers/theirs] performative research process and invite the readers to become collaborators/artistic audits on the presented content. The exposition showcases a collection of the work process of The NarrativeCollective, before it existed, the urge behind its existence and its working method. Aiming towards polyvocality, this document focuses on three voices through which it reflects, observes and contextualises the work process.

If we understand confluence to be a flowing together of two streams, or the like, this artistic research tries to uncover the intricacy of an “agility of perspective nearness", where 2 objects merge to become one. Algebraic mathematics provide the inspiration for research in 3d modeling space. Intuitive semblance is invited at all levels of exploration, and the work is seen as a network of intricately linked diagrams.

Recent Publications

Name: Mieke van Dael
Main Subject: Music Education According to the Kodály Concept
Research Supervisor: Renee Jonker
Title of Research: Integrating aspects of the Kodály philosophy and methodology into instrumental education.
Research Question: How can aspects of the Kodály philosophy and methodology be integrated into instrumental education?
Summary of Results:
I started this Master's study and Research while searching for tools which would allow me to develop my students' inner hearing, and while also being aware that instrumental education has remained the same for a long time even though the world around us is changing. In addition, I realised that during my career as a performing bassoonist I have seen changes which I did not understand.
My study has opened the door to a wide range of possibilities and follow-up steps for me to take. I now understand why I found a number of things difficult in classical music performance. As far as I am concerned that is closely related to the fact that I was trained to reproduce music from notation, whereas I think that making music is much more than merely reproducing something. Splendid masterworks have been composed throughout musical history and I can thoroughly enjoy them if I am given the chance to play them. However, for me, that is not the only way to make my musical voice heard. I also need to speak a living musical language with my pupils and colleague musicians. If self-expression is an important part of the new learning, then I think that it is essential I develop musical expression with my pupils in order to speak a living musical language.
It would be extremely interesting in a follow-up study to investigate how the language develops and then to see what is necessary to develop a living musical language-one in which you learn to listen, speak, read, write and interpret.
By doing this research I have come to understand how aspects from the Kodály philosophy and methodology can be integrated into instrumental education and I can see that this is enriching.
It has given me many insights and a broad palette of tools which I can use to work in the profession in a more creative and innovative manner.
Biography:
I studied bassoon, contrabassoon and chamber music at the conservatories of Maastricht and Amsterdam at the end of the 1980s. I began my career in the Dutch musical landscape at the start of the 1990s. I have been a bassoonist and contrabassoonist for more than 20 years and have given concerts in the Netherlands and abroad, including a number of years intensive involvement with the Royal Concertgebouw Orchestra. My career as a bassoon teacher has also covered more than 20 years, and is nowadays at Scholen in de Kunst in Amersfoort and at the Royal Conservatoire The Hague.

Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are over¬shadowed by his career in the SS. He was director of the Excavation Department of the »Ahnen¬erbe« (ancestral herit¬age) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Af¬fairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the Jäger- und Rüstungsstab task force he became. In this role, Schleif was responsi¬ble above all for moving key arms production facilities underground, where fighter planes and the »reprisal weapons« V1 and V2 were built – hence for the largely subterranean concentra¬tion and slave labour camps of the Sonderstab Kammler. His grandson, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif’s biography.
This are the addenda and the register of the publication in the yearbook of the German Archaeological Institute, No. 131, 2016.

Abstract
Name: Elisa van Kesteren
Research supervisor: Stefan Petrovic
Title of the Research: The Russian way of playing the accordion: a case study related to the Chambersuite of Vladislav Solotarjow
Research question: Does the Russian way of playing the bayan exist and if so, how can I achive this in my own artistic practice?
Summary of the results:
Russian music is very particular. Through the centuries of this huge country’s history, art has always been of great importance, no matter what the political situation was. The world still honors their cultural heritage, their literature, dance and music. Russian music has always touched and inspired me so it was obvious to specialize during my master in this subject.
Becoming myself a performing musician I wanted to investigate what this Russian music is about. What are the characteristics and how do Russian performers play? I wanted to get as close as possible to the ‘Russian way of playing’. Focusing on Vladislav Solotarjow’s ‘Chambersuite’ or ‘Sentimental pieces to Alexander Blok’, made me develop my Russian way of playing. I have done this through listening, analyzing and comparing recordings, from Mika Vayrynen a Scandinavian bayanist and one of Russia’s most important bayanists Friedrich Lips and making my own recordings. This research has proved to me that the Russians play very expressive, with a lot of passion and freedom. Both their music and their instrument are very colorful. I have achieved many of these characteristics in my own playing, even adding my own personal style to it in the end. Only the colorfulness of sound was still missing sometimes. Wondering about my technique and musical decisions, I took the chance to compare the two instruments with each other. My accordion built in Western Europe (Castelfidardo, Italy) versus the Russian-built Bayan (Moscow). It was really helpful to investigate the history of the instrument, the history of Russia and their music in order to get as close as possible to the Russian way of playing. Furthermore, reading about Solotarjow’s life, analysing his composition and listening to different recordings, greatly improved my understanding of this music. These things have helped me to develop my artistic practice. The part of the research that directly involved my artistic practice has been of great value for me. It has enriched my expressive pallet by including more freedom in my playing in many different aspects. I have concluded that it is possible to achieve the Russian way of playing. I have also found that besides having background information about the history of the country, knowledge about the composer and the composition, it is important to have or to imagine the Russian soul. Next to this, it is also important to be open to a different way of playing. A way of playing that might be unfamiliar to a performer.
Biography:
My name is Elisa van Kesteren and was born in Leeuwarden, The Netherlands. I started playing the accordion at the age of eight. After graduating for the Bachelor Degree here at the Royal Conservatory in 2014, I continued studying with An Raskin and will graduate for the Master degree this year. I am a member of the very recently founded accordion ensemble “The Blackboxes”, have a great interest for Russian but also contemporary music and teach at the moment in various music schools.

recent comments

Note: Because I made an upload mistake, the "Fuge" section contains two similar versions of the tablature and no version in conventional notation. Please feel free to get in touch through my website www.andreasaase.com for a free pdf. Andreas

Welcome to the online Research Catalogue of Codarts University of the Arts, Rotterdam.
The catalogue is an online forum for our Master of Music students to share and develop their artistic research with their coach and network, and to publish the final results.